FEATURE: Buffy the Vampire Slayer - The Wish

Previously on Buffy the Vampire Slayer: Buffy struggles to come to terms with having Angel in her life.  Willow and Xander have been caught in a clinch by Oz and Cordelia, their relationships breaking up as a result. 

One of Buffy's many themes is 'be careful what you wish for', which is wise really considering that everyone lives in a place where wishes can be granted by pretty much any so-powered demon, witch or warlock that you come across. Cordelia learns the lesson the very hard way after she decides to try and right the wrongs that Xander has done to her, not by laying the blame at Xander's feet, but instead at Buffy's. Her logic is that Buffy's appearance in Sunnydale disturbed the status quo so much that Cordelia ended up falling for Xander. When she wishes that Buffy never came to Sunnydale in front of vengeance demon Anyanka, she gets exactly that, but the consequences aren't exactly what she imagined.

Series episodes that take place in a bizarro version of the usual events are often amongst the most entertaining, offering a virtual blank slate for the writers to go a little wacky with their ideas. The Wish is one such episode and its alternate reality does not disappoint. Usually, the 'reset' at the end of the episode is something that particularly annoys me because it makes an episode feel pointless. However, in Buffy, the question of 'what happened if Buffy never arrived in Sunnydale?' is a pretty spectacular one and writer Marti Noxon and director David Greenwalt go to town on the concept. This isn't an episode for the characters to develop; it's one in which the audience learns just how vital the concept of friends and family is to the show and the Scoobies.

In order to do this, The Wish strips everything back, taking away all the people and relationshps we've come to rely on and tearing them apart. Sunnydale becomes a vampire-ridden post-apocalyptic wasteland in which the High School populous has been decimated by the Master's forces, including Xander and Willow, now all vamped up and wearing leather. The other characters' paths are altered too without Buffy there to rally them; Giles never becomes a Watcher and is instead left leading the opposing human forces, including a not-so-meathead Larry and Oz, the Master was never killed by Buffy and so reigns supreme whilst Angel is locked in a cage and tortured whenever Willow feels like it. And Buffy? She's all badass and clearly unable to reconcile her high school life with the tortures of being a Slayer on a Hellmouth in Cleveland, Ohio.

The horror alone of seeing Buffy a little more on the Faith side of slaying is enough to make this episode a standout and Sarah Michelle Gellar's performance is great. She clearly revels getting a chance to play up the soldier side of the character and sells it, combat suited, jackbooted and with a nasty lip scar to match. Her entrance is brilliant, a stark contrast to her first appearance in the series itself. Here, she's heard before she is seen, her victims flying through the air and saving Giles from them all. Even Gellar's diminutive frame looks imposing in the low-angled shot that introduces the new, more mercenary Buffy.

She's not the only one having fun as we get our first glimpse of Alyson Hannigan's Evil Willow, here in vampiric and slightly kinky form with her catchphrase 'bored now' making its first appearance as well. It's fun that her relationship with Xander carries on into this world too, showing how they were always going to remain friends. Even with fangs. Not everyone fares so well in the transition. Bless Nicholas Brendon. He can carry the humour and the emotional stuff well, but he doesn't make a very good villain, particularly next to the returning Mark Metcalf as the first season's Big Bad, the Master.

There are a lot of neat links and twists made across the episode to the Sunnydale we know and love. Cordelia's transition from the old town to the new bizarro version is expertly done, handling a wealth of exposition in just a couple of short scenes. The audience quickly learns that vampires have taken over, the humans have brought in several rules to ensure that people stay safe with the vampire threat and the usual hangouts like The Bronze have been taken over. These few scenes cut quickly to the chase and allows the meat of the episode to be taken up with the fight against the Master and Giles' quest to stop Anyanka's creation.

The character work that has gone into all of the previous episodes before getting to this one guarantees that the final, climactic battle packs a visceral punch. The slow motion fight that sees Xander staked by Buffy without ever being friends, Oz dust Willow, Angel staked with barely a reaction from Buffy and then having her neck broken by the Master still galls even after all this time. It's a haunting moment and scored beautifully, offering a glimpse at what might have been. Even though we know that Giles will smash Anyanka's amulet and ensure that Buffy's not really dead, we still have to go through it and see these characters destroy each other.

There's a couple of nitpicky questions that could be asked of this episode (Where's Darla and Luke if Angel and Buffy never killed them? Why is Jesse not alive? Should Jenny be there too?) but largely, it's something particularly brilliant. When it comes to the character of Buffy, it highlights just how different she is from her predecessors in the 'true' version of Sunnydale. Bizarro Buffy is practically dead inside already and holds her life pretty cheaply, having nothing to cling on to in the world because she never met Xander, Willow or Giles. Even Cordelia is defended by her at some point in the episode. 

Like many episodes throughout the series' run, the concept of family is central to the proceedings, but here it is not so much for the characters' benefit, as it is in Tara-centric Season Four episode, the conveniently titled Family, but for the audience. It offers a brief glimpse into Buffy's world if she really was as alone as previous Slayers had been before her, if she didn't have the guidance of Giles in her life and if she lost everything she needed to keep her going. It's no small leap to say that the Buffy of The Wish is very similar in tone to the Buffy that returns from the dead in Season Six when she is struggling to reconnect with the world around her. Okay, she doesn't wear combat fatigues and spit on her shoes, but there's that same steely coldness that creeps into her reactions.

There's also an interesting parallel drawn between the suffering Cordelia and Bizarro Buffy. Although Cordy would never like to admit it, she shares a lot in common with Buffy and that's what makes their relationship so fractious. Buffy attempts to offer Cordelia her support, in much the same way that Cordy offered Buffy hers during When She Was Bad. Their conversation even takes place in the exact same spot outside The Bronze.

Neither particularly wants to acknowledge their common ground, but The Wish highlights it another way. Cordelia finds herself abandoned by both the Scoobies and her old friends in the normal world as well as being comically out of touch with the Bizarro one. Buffy too is alone, unwilling to work with others to achieve anything. Both characters don't survive to the end of the Bizarro timeline. For both characters, their isolation proves to be their undoing.

As I said at the beginning of the post, usually the reset button is a concept I abhor in television episodes because it's usually just an excuse to play in another sandbox for a bit whilst leaving the original unattended and undeveloped. However, The Wish is a masterful example, one that offers a chance to glimpse something so far away from the usual state of affairs whilst also allowing the audience to develop their understanding of the characters involved. Plus, Anya's arrived. That's never a bad thing.

Quote of the Week:

Anyanka: You trusting fool! How do you know the other world is any better than this?
Giles: Because it has to be.

Let's Get Trivial: This won't be the last time we see this reality. We'll check back in later in the season with Doppelgangland.

Inventive Kill: An unnamed Cordette is exsanguinated as the Master perfects the mass production of blood. I'm also really happy I just got to use the word 'exsanguinated'.

Demonology 101: The Pergamum Codex prophecy that comes to pass in Prophecy Girl with Buffy's death at the hands of the Master happens once again here, confirming that there really was no way of thwarting it before she died.

Sunnydale Who's Who: Said Cordette drained in the factory process is played by Nicole Bilderback, who would later go on to star in Bring It On with fellow Buffy alumni Eliza Dushku and Clare Kramer (Glory).

- Becky

You can check out Becky's review of previous episode, Lovers' Walk, here.

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FEATURE: Buffy the Vampire Slayer - When She Was Bad

Previously on Buffy the Vampire Slayer: Buffy moved to Sunnydale and quickly made an impression on the locals, picking up some best friends, falling in love with a vampire and taking on a really old vampire called The Master. Oh and she died. Only a little.

In this season opener, Buffy must deal with her return to Sunnydale from LA and her recent death-by-drowning at the hands of the Master. She doesn't really do either very well. Yes the title refers to when Buffy goes bad which means returning with some razor-sharp insults and a 'Joan Collins 'tude'. Thanks Cordelia for that one. Over the course of the episode, she's mean to just about everyone, teases Xander with a sexy dance as the jealous Willow and Angel look on with increasingly angsty expressions. She also makes a fairly big error in walking into a certain trap only for it to be revealed as a method of getting her out of the way, putting her friends in danger.

There are a lot of things going on this episode which all seem to serve the purpose of getting back up to speed and introducing new people to wacky concepts like the Hellmouth and banana-coloured platform shoes. Ok, maybe not the last part (though who didn't want a pair of those in the 90s?). The exposition is frequent, but not overwhelming and actually slots into the conversation without holding up a sign saying "THIS EXPLAINS WHAT IS HAPPENING". You can also tell this particular episode was written by Joss Whedon; the dialogue zips (picking just one quote proved impossible) and the characters are welcome and familiar as well as progressing nicely in their respective roles.

Sarah Michelle Gellar clearly has a lot of fun here, revelling in being a bit nasty to all her friends. While Buffy's behaviour may look like a traditional teenage passive-agressive tantrum, it also carries shades of post-traumatic stress. After all, she did die at the hands of the Master and is clearly still feeling the effects with nasty dreams and pensive staring at his grave. I also really enjoyed the interaction between her parents in this episode - it's the final appearance of Hank Summers and they share a great moment of 'I don't understand my child', punctuated by afore-mentioned banana shoes.

However, the big thing I noticed on this rewatch was just how much foreshadowing there is in this episode for the season ahead. Snyder predicts that Buffy will get kicked out, Buffy begs Angel to take her on in a fight, knowing he wonders whether he can take her or not, Buffy falling for the bait, only to discover it's so the bad guys can get to her friends (yep, Angel remembers that) and even Xander and Willow for the third season; it's all in there. On first watch, this would completely pass you by, but returning to it now, it's probably the first time in the series that we see Whedon forecasting what is to come, something which will become more common and more apparent as Buffy progresses. One for the nerds to look out for.

I haven't even got round to mentioning the bad guys yet, but I shall do that now as we are re-introduced to the Anointed One who plans to bring back the Master with the help of new poetry-spouting Absalom. Of course, the Scooby Gang handily only buried the Master's bones and didn't salt and burn them Winchester-style as they should have done. Dean and Sam may ask what Buffy would do occasionally, but they were right on this one. Absalom is icky. I don't like him - didn't then, still don't now. It also reminds me of how bland some of the monsters-of-the-week can be, which is why I'm only just talking about him now and brief. Then again, this episode isn't about the villain; it's about our central character overcoming her own personal demons. 

A good start to Season Two then. Pity about the next couple of episodes...

Next Week: Some Assembly Required

I'm introducing a new feature into these post-episode nuggets in honour of the creative ways in which various characters are dispatched. So here we are...

Inventive Kill of the Week: It could have been the moment in which Buffy uses a free-standing torch to kill two vampires at once. However, she also roundhouse-kicked a vampire into a tree and on to a branch, dusting him in the process. A freakin' tree.

Quote of the Week (I've cheated with this one - they were all too good):

Willow: I mean, why else would she be acting like a B-I-T-C-H?
Giles: Willow, we're a little too old to be spelling things out.
Xander: A bitca?!

Snyder: There are some things I can just smell. It's like a sixth sense.
Giles: No actually that would be one of the five.

Buffy - Cordelia's ransom note: "Come to the Bronze before it opens or we'll make her a meal."
Xander: They're gonna cook her dinner?!

Who's Who in Sunnydale: Cibo Matto, the band at the Bronze, has none other than Sean Lennon, son of the late Beatle, on guitar.

- Becky

You can read Becky's look at Prophecy Girl here

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FEATURE: Buffy the Vampire Slayer - Prophecy Girl

Previously on Buffy the Vampire Slayer: The Master remains trapped beneath Sunnydale in an old, abandoned church but he still has sights set on meeting the Slayer. Meanwhile, Buffy and Angel are slowly moving towards a romantic relationship, while Angel has given Giles the Pergamum Codex, an ancient text detailing key prophecies about the Slayer.

Well, here we are at the end of Season One - my, doesn't time fly? First of all, I must apologise for the week long lateness in this edition of the Great Buffy Re-watch - last week was my birthday and I was doing things like getting drunk and opening my presents (big shout out to my little brother who bought me a TARDIS-shaped teapot - yes it is as awesome as it sounds). However, I am back and ready to both rock and roll for the finale of the first season, Prophecy Girl, an episode which sets many things in motion, ties up a couple of loose ends (mainly, a Master-shaped one) and most importantly, it's pretty damn good.

Joss Whedon has frequently noted that Buffy was under constant threat of cancellation and so each finale was designed as an episode in which the main storylines of each season could be wrapped up with some form of closure for the characters whilst leaving it open for future developments. Prophecy Girl is one of the best examples and is a classic episode in terms of Whedon's determination to break all the cliches and produce one kickass show. Let's face it, most horror-themed shows would have taken the blonde in the prom dress and killed her off in the cold open. In Buffy, she gets to win (we'll ignore the impracticality of fighting in a floor-length dress). And that is the show in a nutshell. 

The episode opens with Xander comically rehearsing his 'asking Buffy to the dance speech' with an adoring Willow, Buffy slays three vampires while Cordelia makes out with a guy in a car and Giles discovers something in the Pergamum Codex. And then... Earthquake. Earthquakes in Buffy,  as we shall see in future episodes, are a Very Bad Thing and usually connected with the end of the world. And so it is here, as this earthquake finds the Master set free with some grandiose speeches followed by an excellently dry one-liner as he guesses where the quake is on the Richter scale. Apart from their brief encounter in Nightmares, an episode we'll refer back to shortly, Buffy and the Master haven't met and so the entire season has been building to this confrontation but it takes us a while to get there.

What is perhaps my favourite aspect of this episode is the way in which it builds to this confrontation, not just in apocalyptic signs such as a cat giving birth to snakes, but in the relationships between the characters, carrying far more dramatic weight than any tap running with blood. The scene in which Buffy overhears that she is fated to die the next day is one of the more heartbreaking scenes in a series full of them. Sure it's no "your shirt..." or "Mom? Mom... Mommy?" but it's up there. 

It is one of the many moments in which Sarah Michelle Gellar knocks it out of the park with a mixture of anger and fragility that comes to define Buffy through her central conflict; having a normal life or doing her duty. Also, credit must go to Anthony Head for this scene too; his paternal feelings towards Buffy smashed to pieces by the sense of helplessness that she reinforces. Both characters have to face up to the fears that they discovered in Nightmares (told you we'd come back) and Giles and Buffy must deal with her impending death. There's a wonderful dynamic between the two of them and this is properly explored here for perhaps the first time.

Likewise, it's a momentous episode for the other members of the Scooby Gang; Cordelia is forced to face up to the bloody reality of life in Sunnydale and all the horrors that come with it whilst Willow also gets a wake-up call when the pair discover dead bodies in the AV room. However, this episode is particularly important for Xander in his capacity as the male best friend; he's the one member of the Scooby Gang who charges after Buffy and then he is the person who saves her life. 

Episodes where Xander is the outright hero are few and far between and he here is, crucially, because he is alive and therefore able to administer CPR to the drowned Buffy. This also makes him responsible for rewriting Slayer history as bringing Buffy back to life means that she'll still be around when the new Slayer is called. The Xander-Angel rivalry has always been one of my favourite aspects of the first few seasons and it's great to go back to their first big moment together, particularly as their conversation provides one of the more humourous scenes; "You were looking at my neck!"

With that, there is little left to discuss but the final showdown between the Master and Buffy, a wonderful deconstruction of the dynamics of various genres, action and horror mostly. There's the pithy one-liners and then the Master's great put-down; 'ah yes, the feeble banter portion of the fight". Of course, death doesn't stop her and she returns in a blaze of Nerf Herder glory and kicks the crap out of him and sends the surprisingly-not-terrible-special-effects tentacle creature back into the Hellmouth which we now know is smack-bang beneath the library. It's the kind of battle that suits the big finale and though it will pale compared to the Buffy-Angel swordfight next season or Buffy versus Glory in season 5, it's still dramatic enough to hold your attention.

I didn't intend this post to be quite so long, but I'd forgotten just how good a finale Prophecy Girl is; I haven't even mentioned the excellent music for this episode - the theme makes a key appearance and then there's a gorgeous piano arrangement of it for the post-battle reflection scene. The final scene, in many ways, encapsulates Buffy like no other moment in the first series did. The humour is there, the drama, the conflict and the sense of family that you get from watching the gang defeat the Big Bad for the first time. Now we're on to Season Two which contains both some soaring highs and some crashing lows. It also happens to be my favourite season so I'm a tad giddy about revisiting it.

And Buffy? I know you've heard it before, but your dress really is very pretty.

Next Time: When She Was Bad

Quote of the Day: Buffy - "We saved the world. I say we party."

- Becky

You can read Becky's review of the previous episode here.

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FEATURE: Buffy the Vampire Slayer - The Harvest

Previously on Buffy the Vampire Slayer: Buffy Summers has moved to Sunnydale and isn't keen to begin her slaying duties once again, despite being warned that something called The Harvest is coming. However, once her friends are in danger, she rises to the occasion but is caught up in a deadly fight with the vampire Luke.

Following straight on from series opener Welcome to the Hellmouth, Buffy faces off with Luke before he gets scared off by her necklace and allows her to get away, but sadly Jesse remains trapped in the sewers with Darla. This is the episode in which Buffy not only faces her first apocalypse (the first of oh so many) in The Harvest and, because Sunnydale is on the Hellmouth (a fact we find out from Expositionary Giles this week), it's a hotbed of supernatural activity. Basically, Luke, the Vessel, needs to drink a whole lot of blood for the Master to rise. I'm not entirely sure how that's supposed to work even after seeing the episode god knows how many times, but there we go. 

Mark Metcalf's The Master may not be as fondly remembered as some of the other Big Bads, but it really is quite a performance. His poor maiming of Colin - "you have something in your eye" - is a nicely shocking moment and a memorable one for a second episode. He does tend to ham it up a little, but with the corny nature of the show, it sort of works and gives Buffy a nice pantomime villain to go up against in her first season. Luke's posturing also provides a grandiose antagonist for the first double bill, all speechifying and big words, building in a clash of the old and the new in Buffy that often crops up through the series.

It's not all positive though; The Harvest displays some of the ticks that would go on to characterise Season One with a few hokey plot moments, bombastic and overly dramatic music and a couple of cheesy performances from the other vampires. The score in particular is a distraction I'd not noticed before but there are whole lot of crashing organs and over the top brass sections. And the prosthetics work is not yet the show's best.

However, this episode does contain one of my favourite scenes of the first season; Buffy returns home to pick up supplies only to face her mother, Joyce (the wonderful Kristine Sutherland) and her new age parenting techniques. After Buffy skipped class in the first episode, Joyce gets the call from the principle to let her know and now Buffy's grounded. The confrontation they have typifies so much about the early half of the show's run with the metaphor of high school as a life or death situation. Buffy knows that on this occasion it is, but for Joyce, it's simply just another case of teenage melodrama.

The episode is also key in establishing the Scooby Gang (though not so called yet) as Buffy relies on Giles, Xander and Willow to help her out in the final showdown, urging them not to go 'all Wild Bunch' on her. It becomes one of the show's most enduring themes, that no slayer is an island and survival is simply not possible without a good support team. Much like high school really. 

Next Time: Witch

Quote of the day:

Buffy: Well, I've got to look on the bright side. Maybe I can still get kicked out of school?

Xander: Oh yeah, that's plan. Because other schools aren't on Hellmouths.

Willow: Maybe you could blow something up? I hear they're pretty strict on that.

Buffy: I was thinking something like excessive not studying.

Giles: The Earth is doomed.

Sunnydale Who's Who: Goodbye Jesse, we barely knew ya! And apparently, despite being friends with him for years, neither did Xander and Willow. He's never mentioned again.

- Becky

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FEATURE: Buffy the Vampire Slayer - Welcome to the Hellmouth

Into every generation there is a chosen one. She alone will stand against the vampires, demons and the forces of darkness. She is the Slayer.

And so opens Welcome to the Hellmouth, the very first episode of Buffy the Vampire Slayer, a show by an experienced writer but first-time show-runner, starring no one you'd really heard of and based on a 1992 film that pretty much flopped. It shouldn't have worked, but Buffy has gone on to become a cult classic and as for that show-runner? Well, Mr Joss Whedon has just directed the third highest grossing movie in history. Not bad for a little supernatural show on a smaller network. It also happens to be my favourite television show as it was the first time I'd ever got sucked in by a show's mythos, fell in love with the characters and admired the dialogue so much that it not only completely altered my speech for a while, but I still regularly pinch phrases for every day witticisms. 

It is therefore my pleasure and my privilege to embark upon this rewatch, starting with Welcome to the Hellmouth and continuing every Thursday (because Buffy used to air on a Thursday - BBC2, after The Simpsons and Fresh Prince of Bel Air) until we get to the series finale, Chosen. We're in for the long haul then, but it's totally going to be worth it and so, without much further ado (topical Whedon joke), let's begin.

Welcome to the Hellmouth opens with a nice, standard horror trope; a really really ridiculously good looking couple are doing what they shouldn't be in school after dark. The guy's all predatory whilst the girl is blonde, coy and practically has 'victim' stamped across her forehead. In actual fact, there's something else ridgey and nasty across her forehead as she, Darla (Julie Benz) turns out to be a vampire, killing the boy in a surprise attack. 

Immediately establishing its own take on the vampire, the facial transformation becomes a key part of the series and the make-up, now iconic, is part Lost Boys (a Whedon influence) and part Klingon. An excellent cold open, this scene pretty much set the template for this entire series; Buffy was going to be about subverting genre tropes as we see not only the blonde turn out to be the killer in this situation, but then another blonde, Buffy Summers (Sarah Michelle Gellar) herself, turn out to be a superhero. 

After the now-iconic credits, we're introduced to Buffy, as she makes her way to school for the first time. Navigating the social landscape proves difficult as she is immediately commandeered by Queen Bee Cordelia Chase (Charisma Carpenter) though finds herself more in tune with the geeky Willow (Alyson Hannigan), Xander (Nicholas Brendon) and Jesse (Eric Balfour). She also meets her Watcher, Rupert Giles (Anthony Steward Head) for the first time though rejects him and her role as the Slayer, stating she has left her slaying days behind her in LA. After Darla's victim is found in a locker, Buffy investigates and confronts Giles about it, still refusing to face up to her responsibilities and only be 'extra-curricular' about it all. 

The character of Buffy really hits the ground running in this episode and we learn a lot about her without the narrative ever resorting to excessive exposition, most of which is established in that excellent second scene between her and Giles. He declares his role as a Watcher is to train her and prepare her, to which she responds: "Prepares me for what? For getting kicked out of school? For losing all of my friends? For having to spend all of my time fighting for my life and never getting to tell anyone because I might endanger them? Go ahead! Prepare me." And thus, we're given the most important insight into Buffy's world, her two lives, the pressures she faces and the reluctance with which she does so.

Another aspect of her character that starts to emerge is her loyalty to her friends; although she has only known them for a day, Buffy rushes off to save Willow when she leaves The Bronze with a vampire and puts her life on the line to keep her, Xander and Jesse safe against Darla. We also meet Angel (David Boreanaz) for the first time, currently playing the role of tall, dark, gorgeous 'in an annoying sort of way' stranger with cryptic clues about The Harvest, which has something to do with the mysterious vampires we keep cutting away to in their attractively candle-lit lair. 

The dialogue is already quotable and sparkling with the series' trademark wit with the cast rising to the challenge. Carpenter's Cordelia gets some of the best zingers and a personal favourite of mine: "don't you have an elsewhere to be?". I'll be picking out one quote that stands out each episode which is already proving to be a tough decision in Welcome to the Hellmouth alone as there are so many great lines. The comedy is obviously there, but the charm also lies in the smaller, character-driven moments like Buffy's earlier example of 'Prepare me' and Willow's comment that Buffy can't 'legally' be friends with both her and Cordelia.

The final showdown in the mausoleum also sets the template for fight scenes to come; Buffy gets quippy and kicks some ass, though this one ends on a cliffhanger as candle-lit layer vampire has appeared from nowhere and appears to be winning the fight. Does he succeed? Well, twelve more episodes of this season and another six seasons beyond that says no but that just means this trip back into the past is only just beginning...

Next Time: The Harvest (S1E2)

Let's Get Trivial: Torrance High School is used as Sunnydale High for the first three seasons. It also appears as the school in Beverley Hills 90210, She's All That (starring SMG's future husband, Freddie Prinze Jr) and its spoof, Not Another Teen Movie.

Demonology 101: The 'Vampyr' book that Giles make such a big fuss about? Rarely seen again and then only in the background of certain episodes.

Quote of the Day: Buffy - "This is not gonna be pretty. We're talking violence, strong language, adult content..."

Sunnydale Who's Who: Amongst others, Ryan Reynolds auditioned and for the role of Xander. A mistake you might say, but he's not done badly since.

- Becky

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